The expression techniques in the movie The Legend of 1900 are symbolic—for instance, the fictional utopian ship, the swaying eyeballs of the trumpet player, or even the made-up pianist and the jazz inventor who comes to challenge him... Behind these symbolic characters, objects, or events lie complex historical changes and social contexts (as well as the creator's emotions). Therefore, from a realistic perspective, what we gain visually and auditorily from this film may be far less than what it actually involves! That requires some interpretation.
Of course, I’m not insisting on the necessity of interpreting this movie, as its sensory experience alone is enough to satisfy viewers at different levels. For example, a music student might draw inspiration from the professional skills depicted in the film; a drifting office worker might resonate with the narrator’s circumstances; or someone torn between ideals and career might find enlightenment in the relationship between the pianist and the trumpet player. This proves the exceptional quality of this movie—it balances entertainment and depth while remaining open to interpretations!
Alright, having clarified these two points, this article will guide you through three perspectives (the hidden elements behind the story, the meanings concealed behind symbolic techniques, and the content cut from the "extended version") to explore what we "didn’t see" in this film.
(Note: Our interpretation is based on the 165-minute extended version of The Legend of 1900 , while the version currently screening domestically is the 125-minute cut.)
Text: Mr. Friday \ Editor: Mr. Friday \ Images: Film Stills
1. What You Didn’t See Behind the Story
1. The Temporal (Era) Span of the Film
To understand the timeline of the story, pay attention to several key dates and lines mentioned in the film:
▼ First, the year 1900 : This is the protagonist’s name, the time he was discovered on the ship (the Virginian), and the starting point of the entire The Legend of 1900 story.
▼ Next, the age of 24 : This is when the trumpet player (also the narrator in the film) boards the ship. Assuming the trumpet player and the pianist are of similar age, and that the pianist was discovered shortly after his birth, we can deduce that the trumpet player boarded the ship in the early 1920s. (Note: The trumpet player is called "Yank," indicating he is likely a native American.)
▲ Note that the trumpet player appears in the opening flashback, which suggests this is not the beginning of the story but the time he boarded the ship at 24.
▼ 再次是1933年這個時間點：
▼ Then, the year 1933 : This is when the trumpet player leaves the ship and parts ways with the pianist (one on land, the other on the sea).
▲ Note the tonal contrast when the trumpet player leaves and the group of wealthy people ahead of him.
▼ Finally, a line from the music shop owner : "But after the war, people wanted to hear cheerful tunes (not jazz or blues)..."
The phrase "after the war" refers to the period after the trumpet player leaves the ship (1933), just before the Virginian is about to be destroyed and the trumpet player returns to search for the pianist. Clearly, this "war" refers to World War II ! The destruction of the ship marks the end of the story.
From this, we can infer that the timeline of The Legend of 1900 spans half a century, from 1900 to post-1945. This is truly an epic "film duration"!
2. What Happened in Europe and America During This Period
(Clues: Einstein’s photo, the ship connecting Europe and America)
Note: We focus on Europe and America because the Virginian primarily shuttles between these two continents, as repeatedly emphasized in the film (it mostly carries European immigrants).
With this in mind, let’s revisit the details tied to the earlier timeline points—
First , the pianist’s childhood and adolescence, roughly 1900–1920 (before the trumpet player boards): This period coincides with World War I in Europe, which directly triggered a massive wave of European immigration to America (as vividly depicted on the ship, reflecting refugees’ yearning for America).
Second , the years between the trumpet player boarding and leaving (1920–1933): Note that this era saw the Prohibition in America, leading to the collapse of many legitimate businesses and the rise of opportunists, gangsters, and mobsters (as portrayed in another Italian film, Once Upon a Time in America ).
The later years of Prohibition (1929–1933) also witnessed the Great Depression (marking the beginning of the "American Dream’s" collapse).
Third , after 1933, when Prohibition was gradually repealed. This is after the trumpet player leaves the ship. However, 1933 holds deeper significance—observe a subtle detail in the film:
The pianist lies in his cabin bed, surrounded by photos on the wall. The camera zooms in on one photo: a picture of him with Einstein (and if you look closely, another with psychologist Freud ).
Setting aside the director’s possible tribute to these figures, one thing is certain: these photos hint at the outbreak of World War II (Note: Einstein left Germany for America around 1933)!
In summary, here’s what happened in Europe and America during this half-century, as implied by the film: WWI, Prohibition, the Great Depression, WWII, and post-war industrial decline (the latter reflected in the trumpet player’s life after leaving the ship).
3. The Complementary Experiences and Identities of the Trumpet Player and the Pianist
If we examine the two main characters—the trumpet player and the pianist—against these historical events, we see how their experiences complement each other. In other words, the pianist’s life on the ship contrasts with the trumpet player’s life on land, which encompasses war, social turmoil, economic collapse, and the shattering of the American Dream...
Conversely, the pianist embodies the spiritual and artistic world the trumpet player never experiences!
This duality suggests that one character is a concrete representation of reality, while the other is an abstract artistic creation—one reflects real-life struggles, the other an imagined existence.
Together, they create a powerful artistic contrast and symmetry, with other symbolic elements in the film unfolding along this axis.
But what lies hidden beneath this symbolic contrast and symmetry?
2. What You Didn’t See Behind the Symbolism
1、關(guān)于講故事(jiǎng gù shì)的人與聽故事的人
“You’re never really done for as long as you got a good stor and someone to tell it to"
\times. Moreover, when the trumpet player tells his story, the film repeatedly shows listeners being deeply captivated (through flashback transitions and their reactions). \
This underscores the director’s emphasis on storytelling techniques—a hallmark of Italian cinema. (The 1997 Hong Kong film The Mad Phoenix employs a similar narrative approach.)
Director Giuseppe Tornatore’s trilogy ( Cinema Paradiso , The Legend of 1900 , Malèna ) all use this storytelling style.
2. The Three "Fucks"...
Most characters in The Legend of 1900 are gentle and refined, making the rare instances of "F*ck" stand out. Specifically, the word is uttered exactly three times:
▼ First , the pianist’s father to the captain: "Fuck the law!"
▼ Second , the young pianist to the captain: "Fuck the regulations!"
▼ Third , the pianist to the jazz challenger: "Fuck jazz!"
These three lines are not random; they are carefully crafted to reflect the creator’s stance on politics, societal norms, and capitalist cultural values. They also infuse the Virginian with a utopian, democratic romanticism.
These three "F*cks" form the emotional framework of the film.
3. The Destroyed Ship, the Pianist, and the Decline of Jazz
This romanticism makes the ship seem increasingly illusory and unsustainable, which is why its destruction carries symbolic weight.
Note: Two other things are destroyed alongside the ship— the pianist and jazz .
The pianist’s demise is understandable; his persona is inherently unreal, incapable of surviving in reality. From a realistic perspective, it would be strange if someone like him thrived in "civilized society"!
As for jazz, the creator’s lament is evident in the trumpet player’s post-ship life. The film opens on a tragic note—he is impoverished, forced to sell his beloved Conn trumpet, which the merchant values at a mere six pounds (twenty-five dollars). These details symbolize the decline of "traditional jazz."
▼ Historically, jazz underwent two major shifts : The first, in the 1920s–30s, saw its migration from New Orleans to northern America, making it more mainstream but also more commercialized. The jazz musician who challenges the pianist in the film represents this shift.
The second, post-WWII, involved jazz’s fusion with rock, further commercializing it (e.g., Elvis Presley, The Beatles).
Thus, the director masterfully ties the decline of jazz to broader societal and historical decline.
4. The Pianist’s Near-Departure: Hat Toss and Return
Many viewers wonder why the pianist refuses to leave the ship, especially when a woman he loves awaits him. This question stems from a commercial-film mindset detached from reality.
Some attribute his choice to his father’s influence or the Italian man’s words, but these explanations rely on artistic contrivance.
If we view the pianist as a symbol of a certain type of person—one who cannot survive in reality—his decision makes sense.
So, what does "reality" (or land) represent? Observe the pivotal moment when the pianist almost disembarks:
Note the visual parallel between the flying bird and the tossed hat, both rich in symbolism.
My interpretation: The bird soaring over the smoggy skyscrapers symbolizes the uncertain fate of city dwellers, while the hat represents capitalist "civilization." By tossing the hat, the pianist rejects this potential life on land. His return to the ship signifies his final break with "civilized society."
5. Swaying Eyeballs and Swaying Ship
The romantic "swaying" on the ship contrasts with the trumpet player’s swaying eyeballs, symbolizing his unstable life—torn between sea and land, emotion and reason.
As the pianist says before his death: "Music created on the keys is infinite... but on this infinite keyboard (outside the ship), you can’t play. You’re sitting at the wrong piano."
3. What You Didn’t See in the "Cut Version"
1. Opening Trumpet Close-Up
The 125-minute cut begins with a top-down shot of the trumpet player on the stairs, his voice narrating. The extended version adds a close-up of the trumpet’s bell before transitioning to the stairs.
This shot emphasizes the "subjective narration" concept, reminding us to focus not just on the story but also the storyteller—a key to the film’s personal style.
2、F*ck the law
The 125-minute version omits the first "F*ck the law" scene, where young 1900 pranks the captain by smashing cake in his face, prompting the father’s iconic line.
This scene establishes the pianist’s upbringing, the ship’s utopian "family atmosphere," and is crucial for understanding the film.
3. Cabin Chorus
After Danny finds the baby and names him, the crew sings "Thanks Danny" —a minute-long sequence cut from the theatrical version.
This chorus highlights the unity of the working class, the very environment that nurtured the pianist’s genius. It echoes his later performances for the third-class passengers.
The film’s broader contrast lies in the first-class luxury versus the third-class chaos.
4. Third-Class Musical Reverie
During the pianist’s third-class performance, the camera zooms in on him, then follows the notes out to the sea—a mesmerizing, MV-like sequence sadly cut from the 125-minute version.
5. Italian Man’s Duet with the Pianist
Similarly cut is the Italian man’s duet with the pianist, described as "an irresistible performance." Its beauty is indescribable, yet it’s absent in the shorter cut.
6. The Woman at the End
The extended version ends with the trumpet player walking away as a woman in a sailor outfit passes him, then turns and disappears. The theatrical version removes her, leaving the street empty.
Her presence is deliberate, making her omission puzzling.
7. Other Cuts
Many transitional shots in the trumpet player’s narration are trimmed, affecting the film’s rhythm and emotional pauses.
4. My "Legend of 1900" Complex
I first watched The Legend of 1900 around 2000, captivated by the pianist’s dazzling performances. Other scenes faded over time.
Years later, rewatching it, I found myself resonating with the pianist’s loneliness—a feeling that isolates one from mainstream society, as he says: "You’re the minority."
Now, I realize the film’s appeal lies not just in the pianist but also the trumpet player, whose wandering struggles are equally poignant. Their experiences and the interplay of storytelling create the film’s emotional depth.
Yet, one question lingers: Is there no middle ground between sea and land? Can someone like the pianist truly survive between reality and idealism
The film offers no answer.
But one thing is clear: neither character provides a solution. Their paths are fraught with tragedy
, shaped by forces beyond their control.
And such tragedy , while beautiful in art, is too daunting to pursue in real life.
經(jīng)典電影??(jīng diǎn diàn yǐng)解讀，關(guān)注【星期五文藝】
星期五言： 電影?? 《海上(hǎi shàng)鋼琴師》 的表現(xiàn)手法是象征性的，比如說那條(nà tiáo)虛構(gòu)出來的烏托邦式的輪船，比如說(bǐ rú shuō)那個小號手兩只左右晃動的眼珠，甚至于(shèn zhì yú)故事虛構(gòu)出的那個鋼琴師、那個來(lái)挑戰(zhàn)鋼琴師的 爵士樂 發(fā)明者……而這些象征性(xiàng zhēng xìng)的人或物或事背后隱藏的(de)便是復(fù)雜的歷史變革與社會背景(bèi jǐng)（當然還有創(chuàng)作者的情感）。因此，從現(xiàn)實(xiàn shí)角度而言，我們從該片視覺聽覺上(shàng)獲得的東西可能遠遠小于它所(suǒ)涉及到的東西！那需要一番解讀(jiě dú)。
當然，本人絕不是在肯定解讀這部(zhè bù)電影??的必要性，因為光是憑觀感，它(tā)也足以滿足不同層次觀者的需求(xū qiú)了，比如說一個學音樂的人從(cóng)電影??里的專業(yè)技能中得到的靈感(líng gǎn)；一個在外漂泊的上班族在電影??講述者(jiǎng shù zhě)的境遇上得到的共鳴；一個在(zài)理想與事業(yè)間徘徊的人從(cóng)鋼琴師與小號手之間獲得的啟示等等(děng děng)。這也恰恰證明了這部電影??的(de)過人之處——它是娛樂性與思想性并行的(de)，也是多元化開放式的！
好啦，說(shuō)清以上兩點后，本文將帶大家(dà jiā)從三個角度（隱藏在故事背后的(de)東西、隱藏在象征性手法背后的東西(dōng xī)、較“加長版”刪減的東西）來看看這部(zhè bù)電影??那些我們“沒看到的東西”。
（注(zhù)：我們的解讀是以165分鐘加長版《海上(hǎi shàng)鋼琴師》為基準的，正在國內(nèi)上映的(de)《海上鋼琴師》為125分鐘版）
文：無名宮(gōng) \ 編輯：Mr.Friday \ 圖片：電影??截圖
一、故事背后你(nǐ)所沒看到的
1、電影??所跨越的(de)時（代）長（度）
要知道電影??故事(gù shì)所跨越的時長，只需注意電影??中(zhōng)人物提到的幾個時間點和幾句(jǐ jù)臺詞：
▼ 首先是1900年這個時間點：
這是(zhè shì)電影??主角的名字；同時也是男主角(nán zhǔ jué)在船上（ 維吉尼亞號 ）被發(fā)現(xiàn)的時間(shí jiān)；當然也是整部《海上鋼琴師》故事的(de)起點。
▼ 其次是24歲這個時間點：
這是(zhè shì)小號手（也是劇中故事的講述者）登船(dēng chuán)的時間，如果我們假設(shè)小號手和鋼琴師(gāng qín shī)年齡相仿，再假設(shè)鋼琴師被發(fā)現(xiàn)的(de)時候離出生日不遠，那么便可(kě)推算出小號手登船的時間是美國二十年代(èr shí nián dài)初期。（注:小號手曾被人稱呼“Yank美國佬(měi guó lǎo)”，這說明他應(yīng)該是個地道的(de)美國人）
▲注意小號手出現(xiàn)在電影??開端(kāi duān)閃回鏡頭中，說明那不是故事的(de)開端，而是他24歲登船的時間
▼ 再次(zài cì)是1933年這個時間點：
這是小號手離船(lí chuán)的時間，也是他跟海上鋼琴師(gāng qín shī)分開的時間（自此兩人一個陸上一個(yí gè)水上）。
▲注意小號手離船時的色調(diào)反差(fǎn chà)以及他前面的那群富人
▼ 最后是(shì)琴行老板的一句臺詞：
“但戰(zhàn)爭結(jié)束(jié shù)后，人們都想聽明快的曲子(qǔ zi)（不聽爵士、布魯斯了）……”
注意“戰(zhàn)爭結(jié)束(jié shù)”字眼，它發(fā)生在小號手離船（1933）后，那艘(nà sōu)維吉尼亞號船即將被炸毀、小號手再次(zài cì)登船尋找鋼琴師前。顯然這個戰(zhàn)爭指(zhǐ)的是“二戰(zhàn)”！而輪船被炸毀之(zhī)時，也是故事的終點。
根據(jù)以上(yǐ shàng)，我們不難推斷出《海上鋼琴師》電影??故事跨越(kuà yuè)的時間是從1900年到1945年后的(de)半個世紀。這絕對是史詩級別的“電影??(diàn yǐng)時長”了！
2、這段時間歐美發(fā)生了(le)什么
（提示：愛??因斯坦的合影、連接歐美大陸(dà lù)的船）
注意：我們這里之所以說的(de)是歐美發(fā)生了什么，而不是世界??(shì jiè)發(fā)生了什么，那是因為那艘維吉尼亞號(hào)船連接的是歐美大陸，這在(zài)電影??中反復(fù)被強調(diào)過（它承載(chéng zài)的多為歐洲移民）。
▲注意英國????國旗(guó qí)和美國自由女神像的對應(yīng)
帶著(zhe)這個問題，我們再來看前文那些(nà xiē)時間點所涉及的一些細節(jié)——
首先(shǒu xiān) 是海上鋼琴師的童年及青少年時期(shí qī)，這該在1900-1920年前（也就是小號手上船前(qián)）：
顯然，這段時間歐洲爆發(fā)了 “第一次世界??大戰(zhàn) ”，而(ér)一戰(zhàn)的爆發(fā)直接導致了大量的(de)歐洲人移民美國（這在船上有集中(jí zhōng)的體現(xiàn)，也不難看出那時的難民對(duì)美國的渴望）。
其次 是小號手登船和(hé)離船間的那些年，這是1920-1933間的(de)事情：
注意，這段時間美國頒布了 禁酒令(jìn jiǔ lìng) ，國內(nèi)大量正規(guī)行當?shù)归]，同時投機分子、匪徒(fěi tú)、黑幫盛行（這在另一部意大利人拍(pāi)的電影??《美國往事》里有集中體現(xiàn)）；
禁酒令(jìn jiǔ lìng)后期（1929-1933）爆發(fā)了美國 經(jīng)濟大蕭條 （這(zhè)也是“美國夢”破滅的開始）；
再次(zài cì) 是1933年后，美國禁酒令逐漸被撤銷(chè xiāo)。這也是小號手離船后的時段(shí duàn)。然而，1933這個時間點所蘊含的意義(yì yì)遠遠不止于此，來看電影??中的(de)一個細節(jié)——
海上鋼琴師躺在船艙臥室(wò shì)的床???上，床???邊的墻上貼滿了照片(zhào piān)，鏡頭逐漸拉近，我們看到了其中一張(yī zhāng)照片的特寫：那是他跟愛??因斯坦(ài yīn sī tǎn)的合照（如果你再仔細看，還有(hái yǒu)鋼琴師跟心理學家佛洛依德的合照）。
我們拋開(pāo kāi)導演出此鏡頭向偉人致敬的可能性(kě néng xìng)，有一點是可以肯定的，這些照片(zhào piān)在提示我們一件事情： 二戰(zhàn)爆發(fā) 了(le)（注：愛??因斯坦離開德國去美國大概就是(jiù shì)在1933年）！
綜上我們來做個總結(jié)(zǒng jié)，這半個世紀歐美發(fā)生了什么，按電影??(diàn yǐng)里提示的東西來講，那就是：一戰(zhàn)(yī zhàn)、美國禁酒時期、美國經(jīng)濟大蕭條、二戰(zhàn)(èr zhàn)、二戰(zhàn)后的工業(yè)衰落（這段體現(xiàn)(tǐ xiàn)在小號手船外的戲份上）。
3、小號手、鋼琴師(gāng qín shī)經(jīng)歷與身份的互補
我們?nèi)绻?yǐ)上面這些事件點為參照物來看《海上鋼琴師(gāng qín shī)》兩個主要人物的設(shè)置（小號手和鋼琴師(gāng qín shī)），你會發(fā)現(xiàn)，剛好兩個人的經(jīng)歷(jīng lì)起到了一個對現(xiàn)實事件互補的(de)作用。換句話說，鋼琴師沒經(jīng)歷的陸地上(shàng)的生活，那個小號手都經(jīng)歷了！——這(zhè)其中包括戰(zhàn)爭，包括社會動亂，包括經(jīng)濟(jīng jì)衰落，包括美國夢的破碎……
而小號手(xiǎo hào shǒu)沒經(jīng)歷的精神世界??和藝術(shù)創(chuàng)作，海上(hǎi shàng)鋼琴師都干了！
如此看來，我們是否(shì fǒu)可以說兩個人物的設(shè)置，一個是(shì)現(xiàn)實中的具象人物，一個是藝術(shù)(yì shù)上抽象出來的人物；一個是對(duì)現(xiàn)實生活的呈現(xiàn)，一個是對幻想生活(shēng huó)的假設(shè)……
兩個人合在一起產(chǎn)生出了(le)極強的藝術(shù)對比性與對稱性，電影??其他(qí tā)各處的象征情節(jié)則都是在(zài)這兩個人物連成的軸線下表達出來(biǎo dá chū lái)的。
那么在這種象征性的對比與(yǔ)對稱中，又隱藏著什么我們沒(méi)看到的東西呢？
二、象征性背后你(nǐ)所沒看到的
1、關(guān)于講故事的人(rén)與聽故事的人
“只要你有(yǒu)一個好的故事以及聽故事的(de)人，你就永遠不會完蛋！”（原文：You’re never really done for as long as you got a good story and someone to tell it to）
這句(zhè jù)話出自海上鋼琴師之口，但通過小號手(xiǎo hào shǒu)復(fù)述不下三遍。非但如此，電影??在演到(yǎn dào)小號手講故事的時候，多次表現(xiàn)出了(le)那些聽講述的人被深深吸引(xī yǐn)的跡象（表現(xiàn)在閃回前后銜接以及(yǐ jí)聽者反應(yīng)上）。
這足以證明導演對(duì)講（電影??）故事手法和技巧的重視(zhòng shì)度了！也足以體現(xiàn)意大利導演講故事(jiǎng gù shì)善用的方式了！（幾乎同年上映的(de)港產(chǎn)片《南海十三郎》與此片講故事(jiǎng gù shì)手法異曲同工，請參看 《這部97港產(chǎn)片竟神(shén)預(yù)演了中國電影??的命運》）
縱觀意大利(yì dà lì)導演 托納多雷 的三部曲（《天堂電影??院》、《海上鋼琴師(gāng qín shī)》、《西西里的美麗傳說》）用的都是(shì)這種講故事的方式。
2、三個 F*ck……
《海上鋼琴師》里(lǐ)的主要人物總體來說都挺紳士(shēn shì)的，都文縐縐的、好脾氣，因此，電影??中(zhōng)出現(xiàn)的為數(shù)不多的幾次“F*ck”顯得格外顯眼(xiǎn yǎn)，其實準確的說正式從人口中(zhōng)說出的不多不少只有三次：
▼ 第一次是鋼琴師(gāng qín shī)父親對船長：F*ck the law（法律）
▼ 第二次是少年鋼琴師(gāng qín shī)對船長：F*ck the regulations（規(guī)則）
▼ 第三次是鋼琴師對來挑戰(zhàn)(tiǎo zhàn)的樂手：F*ck jazz（爵士樂）
我認為這三個 F*ck 可不是(kě bú shì)隨手拈來的臺詞，他是導演精心設(shè)計(jīng xīn shè jì)的具有一定象征性的臺詞，它體現(xiàn)(tǐ xiàn)出了創(chuàng)作者對政治、世俗以及資本主義(zī běn zhǔ yì)國家文化價值觀的態(tài)度，同時也為(wèi)這艘維吉尼亞號輪船萌生了一層(yī céng)高度民主、烏托邦的浪漫色彩。
這三句話構(gòu)成(gòu chéng)了創(chuàng)作者整部電影??的個人情感框架(kuāng jià)。
3、被炸毀的船、鋼琴師以及沒落的(de)爵士樂
當然，也正是這層浪漫色彩讓(ràng)這艘船越發(fā)顯得虛幻、超現(xiàn)實、不得(bù dé)永久。這也是維吉尼亞號最終被(bèi)炸事件的象征性意義。
注意：與輪船(lún chuán)同時毀掉的還有另外兩樣東西——鋼琴師(gāng qín shī)和“爵士樂”
海上鋼琴師隨船毀滅不難理解，他(tā)的人格本身就是不切實際的，是在(zài)現(xiàn)實中無法存活的，從現(xiàn)實角度(jiǎo dù)來講，他這種人要能在“文明社會(shè huì)”活下去才不對勁兒了！
我們來看“爵士樂(jué shì yuè)”。創(chuàng)作者的情感在那個小號手船外的(de)戲份上展現(xiàn)無遺。電影??開篇就演出(yǎn chū)了一種悲劇色彩——他（小號手）生活窘迫(jiǒng pò)、要賣掉自己最愛??、最珍貴的(de)那個康恩牌??小號，而這個小號在商人(shāng rén)眼里，只不過值六英鎊（二十五美元）。這些數(shù)字(shù zì)和情節(jié)足以象征化地表現(xiàn)出創(chuàng)作者(chuàng zuò zhě)對“傳統(tǒng)爵士樂”沒落的傷感。
▼ 現(xiàn)實中(zhōng)，爵士樂的發(fā)展曾經(jīng)歷過兩此轉(zhuǎn)變(zhuǎn biàn)：
一次是上世紀二三十年代從美國(měi guó)南部 新奧爾良 向北部地域上的遷徙(qiān xǐ)。這次轉(zhuǎn)變讓傳統(tǒng)爵士樂更普及了(le)，但同時也更商業(yè)化了。被商業(yè)(shāng yè)包裝下的爵士明星在這個時期(shí qī)應(yīng)運而生，電影??中那個從紐約趕來PK海上(hǎi shàng)鋼琴師的爵士樂手便是這種轉(zhuǎn)變過程(guò chéng)的象征性代表；
另一次轉(zhuǎn)變是二戰(zhàn)(èr zhàn)后爵士樂的融合化、搖滾化，這(zhè)也是爵士樂進一步向商業(yè)化靠攏的(de)印證。（ 貓王 、 披頭士 便是在這一時期誕生(dàn shēng)）
如此看來，導演將爵士樂沒落的個人(gè rén)情感與時代、社會沒落捆綁到一起(yì qǐ)，其象征性手法極其高明。
4、鋼琴師下船、扔(rēng)帽子、回船
很多看過《海上鋼琴師》的人(rén)總在糾結(jié)鋼琴師為什么不下船這件(zhè jiàn)事，正所謂好死不如賴活。更別說還有(hái yǒu)個一見鐘情的女人??在等著他(tā)……
這種想法是典型脫離現(xiàn)實的商業(yè)片的(de)思維模式。很多人可能會把不(bù)下船的原因歸咎于鋼琴師父親以及那個(nà ge)意大利人的話對他造成的影響，但(dàn)這是建立在一種特殊性與藝術(shù)(yì shù)偶然性之上的！
如果我們把海上鋼琴師(gāng qín shī)當成一類人的象征，并理解這(zhè)類人無法在現(xiàn)實存活的概念，就(jiù)不難理解鋼琴師的選擇了（這點前文提過(tí guò)）。
那么現(xiàn)實是怎樣的呢（或者說陸地(lù dì)是怎樣的），我們來看片中鋼琴師下船(xià chuán)與留船的那個臨界點——
注意：空中的(de)飛鳥和被鋼琴師扔出的帽子(mào zi)形成了視覺上的對應(yīng)，兩者具有(jù yǒu)極強的象征意義。
當然，這個意義不同的(de)人有不同的理解，本人的主觀(zhǔ guān)感觸是——
那個高樓大廈、煙霧繚繞的飛鳥(fēi niǎo)象征著在城市中打拼的人(rén)的未知下場，而那個帽子，象征著(zhe)資本主義社會所謂的“文明”。鋼琴師扔出(chū)帽子，也表現(xiàn)出了他對這種(zhè zhǒng)可能在陸地上發(fā)生的生活的(de)恐懼與抵觸。轉(zhuǎn)身回船表現(xiàn)出了(le)他與這種“文明社會”的訣別。
5、眼珠(yǎn zhū)晃與船晃
如果你能把船上(chuán shàng)那些浪漫色彩的“晃”跟現(xiàn)實中(zhōng)小號手眼球的“晃”形成對比，便不難(bù nán)體味出這其中的象征性色彩。
自然(zì rán)，對于小號手，這個在海上陸地游移不定的(de)人，他的生活也一定是游移不定(yóu yí bù dìng)、左右漂泊的，他在感性與理性(lǐ xìng)之間也是游移不定的……
正像鋼琴師臨終(lín zhōng)說的那樣：在琴鍵上創(chuàng)作的(de)音樂是無限的……而在（船外）這個(zhè ge)無限大的鍵盤上你根本就無法(wú fǎ)去演奏，你坐在了錯誤的鋼琴(gāng qín)前……
三、“刪減版”你所沒看到(kàn dào)的
1、開頭小號特寫鏡頭
125分鐘刪減版的(de)開端是鏡頭俯拍樓梯上坐著(zhe)的小號手，畫外音小號手的聲音開始講述(jiǎng shù)。加長版在這段戲之前多了一個(yí gè)小號喇叭的鏡頭特寫，鏡頭稍微向(xiàng)后拉，疊化致樓梯俯拍。
我認為這一(zhè yī)鏡頭的加入強調(diào)了故事“主觀敘述(xù shù)”的概念，提示了我們不僅要關(guān)注(guān zhù)故事，還要關(guān)注講故事的人！這也(yě)是這部電影??個人化風格強烈的原因(yuán yīn)所在。
2、F*ck the law
之前我們提到過“三個F*ck”，125分鐘版本(bǎn běn)少了第一個“ F*ck the law（法律）”的前后場戲——這場(zhè chǎng)戲大致講的是童年1900搞惡作劇(è zuò jù)，往船長臉上潑蛋糕，船長氣的(de)去船艙向其父親告狀，之后父親(fù qīn)說了那句 F*ck 的話……
這段戲展現(xiàn)了(le)鋼琴師童年的成長環(huán)境、教育環(huán)境，以及(yǐ jí)他身邊每一個人的性格，同時(tóng shí)也為這艘船增加了烏托邦(wū tuō bāng)式的“大家庭氛圍”，因此，我認為它(tā)對整部電影??的幫助理解不可或缺。 3、創(chuàng)艙(chuàng cāng)里的大合唱
在老 Danny 撿到嬰兒(yīng ér)，拿到地下船艙為其取完名字后(hòu)，眾人唱起了《Thanks Danny》之歌。當然，這是加長版里(lǐ)的段落。
這短短一分鐘的“集體大合唱(dà hé chàng)”所帶來的那種底層勞動人民團結(jié)一心(tuán jié yī xīn)的感染力是非常巨大的。要知道(zhī dào)，正是這個底層、這個勞動環(huán)境孕育出了(le)海上鋼琴師這種音樂天才。這段戲與(yǔ)之后鋼琴師為船上三等艙工人階層演奏(yǎn zòu)的戲份形成了呼應(yīng)與象征性的(de)解釋。
而整部電影??形成的船上的(de)另一大對比便是：豪華艙的歌舞升平(gē wǔ shēng píng)與三等艙、底艙的臟亂鬧騰...
4、三等艙演奏(yǎn zòu)神游
鋼琴師在三等艙演奏時，鏡頭逐漸(zhú jiàn)拉近鋼琴師，隨之，鏡頭跟隨那飄散的(de)音符化致船艙外的大海，這段(duàn)鏡頭猶如MV，讓人沉醉，可惜的是(shì)，125版本的觀眾享受不到了，整段被(bèi)減掉了。
5、意大利人跟海上鋼琴師的合奏(hé zòu)
與此段神游神似的戲份還有那位(nà wèi)意大利人（也就是那位鋼琴師一見鐘情的女子(nǚ zǐ)的父親）與鋼琴師的合奏，它出現(xiàn)(chū xiàn)在意大利人與鋼琴師聊天之前，用意大利人(yì dà lì rén)的話：那是一種情不自禁的演奏。
至于(zhì yú)這段音樂之美以及畫面鏡頭之美(zhī měi)，本人是在無法用言語表達，只(zhǐ)可惜，刪減版的觀眾還是無法享受(xiǎng shòu)了。
6、結(jié)尾“迎面走來的女人??”
家常165版本(bǎn běn)結(jié)尾處，當小號手走出琴行，街道深處迎面(yíng miàn)走來一個女人??，似乎一身水手服，兩人迎面(yíng miàn)走，逐漸接近……然而，女人??在另一個(yí gè)過道轉(zhuǎn)彎，消失在鏡頭里，只(zhǐ)剩下小號手的背影；
而125版本，結(jié)尾處，小號手(xiǎo hào shǒu)走出門時街道空無一人。
顯然，加長版那個迎面(yíng miàn)走來的女人??不是隨來之筆，125版本去掉(qù diào)了那個人，讓人匪夷所思。
7、其他
小號手(xiǎo hào shǒu)講故事時，閃回前后的那些掐頭去尾的(de)鏡頭刪掉很多，其對節(jié)奏與觀眾(guān zhòng)氣孔喘息的影響不可忽視。
四、我(wǒ)的“海上鋼琴師”情節(jié)
本人第一次看《海上(hǎi shàng)鋼琴師》大概在2000年初，我清楚記得那時(nà shí)自己所關(guān)注的焦點——自然是在(zài)鋼琴師那些賞心悅目的彪琴大戲上(shàng)，除此之外大多戲份，大概隨著時間都忘卻(wàng què)了。
數(shù)年后，工作之余第二次看(kàn)此片，除了那些賞心悅目的音樂外，我(wǒ)發(fā)現(xiàn)自己又多了些許在鋼琴師那種(nà zhǒng)孤獨感上的共鳴，而這種孤獨感會(huì)讓你越來越孤立于主流大眾，就(jiù)像炸船前鋼琴師對小號手說的(de)那句話： 你是少數(shù)派（you are minority） ……
時至今日再看這部(zhè bù)電影??，方才發(fā)現(xiàn)原來吸引自己的不光(bù guāng)鋼琴師一個人，應(yīng)該還有那個小號手（那種(nà zhǒng)左右漂泊的心酸之味無法言喻）——如果(rú guǒ)沒有兩人經(jīng)歷上的互補，沒有兩個(liǎng gè)人物結(jié)構(gòu)上的對照，沒有講故事和(hé)聽故事的人，哪來的那些觀影(guān yǐng)的感動與感觸。
然而，困擾我的(de)問題始終還在：難道海洋和陸地(lù dì)之間就沒有一個中間地帶可選嗎(ma)，換句話說，在理想與現(xiàn)實間，像“海上(hǎi shàng)鋼琴師”這種人真的就不能存活下來(xià lái)嗎？
可惜，電影??沒有給出答案！
但有(yǒu)一點我們可以肯定，電影??中的兩個(liǎng gè)人都不是我們想要尋找的答案(dá àn)，他們各自走的路都不是那么(nà me)樂觀，他們似乎被一種時代命運的(de)東西牽制著，呈現(xiàn)出一種悲劇色彩。
而(ér)這種悲劇色彩，只有在電影??藝術(shù)中(zhōng)才能產(chǎn)生出美來，現(xiàn)實生活中，誰又敢(gǎn)去追求呢！
